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Minolta POCKET COMPANION User manual
User manual for Minolta POCKET COMPANION. 66 pages in English. Read the original PDF, download or print a copy without registration.
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- Minolta
- Model / document
- Minolta POCKET COMPANION
- Document type
- User manual
- Language
- English
- Pages
- 66
- File size
- 11.3 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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u* t3l $1.95
F ]UlINOLTA SRr POCKET COMPANION
F by Joseph D. Cooper
lFFView original page 2Page 3 · Read text
C ONTENTS
Chopler I MINOLTA StR SYSTEM
L The SR Comeros
L| Generol 7
1.2 Minolro sR-7 IL 1.3 Minolto SR-l (Lotest Model) g
1.4 Older models l2
L5 Lens compotobility l5
2. Minolto-ER
2.1 Generol l5
2.2 Lens ond shutter l6
2.3 Auxiliory lenses l6
2.4 Exposure meler l6
2.5 Viewf inder | 6
' 3. Rokkor Lenses
3.1 Generol | 6
3.2 Stondord lenses 17
3.3 Wide-ongle lenses 17
3.4 Moderote telephoto lenses l8
3.5 Long ielephoto lenses l8
3.6 Zoom lenses l8
3.7 Speciol lenses l9
4. Focusing ond Viewing Aids
4.1 Eyepiece correclion lenses l9
4.2 2.5X mognif ier l9
4.3 Angle f inder 20r 5. Close-up Accessories-f- 5.1 Mocro Rokkor close-up lens 20
5.2 Bellows ossemblies 2l
5.3 Extension lubes 22
6. Miscelloneous Accessories
6.1 Minolto SR Meter ll 22
f losh unit 23!-= 6.2 Minolto 6.3 Ponoromo heod 23
6.4 Underwoter housings 23
6.5 Miscelloneous occessories 23
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c) .lIcter s/trtc: \leter shoe couplesaccessor]'(ldS
nreter (optional) to speed dial lbr direct rearding
exposure coutrol. IIas sanre sensitivitv as built-in
rneter on SIi-7.
d)Frlcu,sina,,Crcen..(irourrdglassscree|r,'u,E
clear center spot lbr critical fbcusing. Grid f<rcusing
screen or split-inrage focusing screen cau be in-
stalled at additional cost through dealer.
e) sltrtttt'r .sftced.s; Sa're as sll-7 except th.t top EI
linrit is l/500.
f) Lens ucc'cpluttcr,.' .\ccepts all leuses for Slt-7
except ultra wide-angle 21nrm, siuce Slt-l does uot
include nrirror lclck.
1.4 Older models
a) S/l-/.' Sinrilarr to current nrodel, principal dif- Nomenclolure ol porlr SR-llbrence being that older nrodel does not take acces- -
sor'\' exposure nreter. ( )lder urodel was equipped l. Stondord [ens f=Iwith 55nrnr I/ 2 liokkor lens. 2. Viewer
'l'his canrera was filst of the Slt series 3. Pento Prism Viewfinder b ) .\-/i-2.' 4. Shutter Speed Diolto be released. \o provision lbr accessory exposure 5. Oversize Inslonl Relurn Mirrornteter. Standard lens was 55nrnr I/ 1.8 r\uto ltok- .fn 6. Flosh Synchronizolion Terminols 'l'opkor. shutter speed l/1000. ts 7. Depth of Field pre-view
Ring c) .S/l-.?.' Sinrilar to Slt-2 with these exceprions: 8. Aperlure Setting 9. lens lock
( I ) l'rovision fbr coupling all exposure meter tcr | 0. Rewind Releose Buffon
shutter speed dial, (2) incorporation of split-inrage I l. Film Advonce ond Shufter Corhlangelinder in focusing grouud-glass. (3) equidis- 12. Exposure Counler
tant shuttcr speed nurtrbers on shutter dial, (4) 13. Shutter Releose
locked in half stops on diaphragnr ring, (5) quieter 14. Self-timer
shutter. 15. Film Rewind ond Bock Opening Knob
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or when it is not convenient to do so. 35mm lens image area, the latter being particularly advan-
offers moderate wide-angle effect, but marked change tageous when you want to exclude detail. The size
in coverage becomes apparent with 28mm and of the image can be varied to flt the frame as de-
21mm lenses. Some photographers prefer to use sired. Unique close-focusing effects with close-up
35mm lenses as standard equipment in conjunction lenses.
with fine-grained film, thereby having advantage
of wider scene coverage generally and satisfactory 3.7 Special lenses
enlargement of detail. The 2lmm lens can be used a) Macro Rolckor: Corrected especiallyforclose- -only with the SR-7; the camera should be tripod- focusing but can be used for general purposes as
mounted. well. Can also be used as enlarging leni ( kica
).3.4 Moderate telephoto lenses mount
For use with bel- b) Short mount 135mm fl4: a) Includes 100mm and 135mm lenses. For lows only for close-up photography up to 1:1; alsoportraiture, stage, sports, candid photography, in-
can be used as moderate telephoto lens with bellowsaccessible obiects, close-ups of small objects. Can attachment.be used hand-held, but slow shutter speeds should
be avoided.
b) The short mount 135mm fl 4 Rokkor PC 4. FOCUSING AND VIEWING AIDS
lens with one of the bellows attachments can be
used for general telephoto work as well as for 4.1 Eyepiece correction lenses
close-up work. These lenses correct the viewfinder to accom-
3.5 Long telephoto lenses modate near- or far-sighted eyesight. They stip over
the rear of the eye-level {inder. Available foi +0.5,
Includes lenses of 200mm length and greater. +L, +2,, +3, and -2 diopters.
For distant scenes or where details areto be brought
up large. Must be used with tripodordther support. 4.2 2.5X magnifier
3.6 Zoom lenses The 2.5X magnifier is used for precise focusing
in wide-angle and telephoto picture-taking, copy- Variable focal length lens. From the same dis-
ing, ultra close-ups, and microphotography. Thetance, you can bring the sub;ect in smaller or A
bayonet base to attach to thelarger within the range of the lens. Stated other- magnifier has a
wise, you can bring in more image area or less camera eyepiece.
18 I9 L LView original page 11Page 17 · Read text
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2. EXPOSURE CONTROLS
2.1 General
Selling shuller sPeed on ,,'"' l!'*iiJ,:'l#::1i11'}; g:r ffi i:ffi-ffi[i; lens to filnr during the uronrent o[ exposure. 'l'he Minolto SR-7.
exposure you give a picture is expressed in terms
of both the shutter speed and diaphragnr setting for €-J :1'".iil.'|'i.u':,|,;1,'[::,,::: ;ii'1i,1. iliJ'o'.' Er
achieved through nlany different courbinations of pirsscs t$'ice as ntuch light as ncxt highcr ttttttlller'diaphragm and shutter settillgs, as explained below. tl'lr,,r, |125(l t*'icc its tttttch lig6t.s I/5(X). 'l'he element of filnr seusitivity is controlled by the '^sses ,\Sr\ setting, as explained above. 2.3 Diaphragm sctting (f/stop) Ef
a)Stitnclirrd5Srrrtllletrsltttsdirtplrrilglllsettittgs
(trlsocalledirpertttretrutrrbersorl/sttlps)f'rorrr 2.2 Shutter setting 1.4 to 16. Staudarcl 55nrnl lens hits settings l'rotrt 'l'he shutter speed can be set before or after a ) 1.8 to 16. S'taller I'/ stt-rp truttrbcrs stittrcl l,r shutter is cocked by the toss of the film advance El{ tilrger letrs opetrirlgs; larger l/sttlp trutttbers lbr lever. 'l'urn dial until desired speed appears op- snraller openir-res. l,.ach larrger l/stop trtttnber ad- posite indicator line in hub of dial. l.'igures 1,2,4, rurits hatll' the autount o['light of trext lon'er trutttber' 8, 15, etc., indicate shutter speeds of I sec., lf2 sec., '4' f 12 ad'rits Salf its tttuclt light its lll l/4 sec. up to 1000 sec. (l/500 with sll-l). \\'hen Ff Th's, H(ForallpritcticirlPurPoSeS.l/1.8lllir\'bcc<rrl- dial is set at "ll" shutter will remain open ars long as
|: 12.) ( lorrr'ersell', release button is held down. "\" position cor- siclerecl i'tppro.xirllirtelt, equirl to
responds to l/50 sec. speed and is used with elec- elclt snrlller f/stop trutlrber arclprits t6'ice 1s tttttc[
tronic flash equipnrent. light as the preceding trtttnber. l"or exantplc. l/2
b) Each higher shutter number (expressed .s a Ef itduritstrvice's t'uch light.s ll2'8'
fraction) admits one-half the light of the preceding b ) The stitrtdarcl l/stops ure 1.4,2,2.ti.4, 5'6. lower number.'l'hus, I 1250 passes one-halfas nruch 8, 11, 16, ittrd 22. although the eotrlplete ratrge light as lll25. ln reverse, each lower nunrber ntay trot aPPeitr oll an1' givett letrs. Sotue lltlkk<lr
30 3I
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hand-held speed should be l/60. \\'ith lOOnrm or
135nrm lens, hand-held speed should be lll25. If
slower speeds are used, camera nrust be held extra
with Ef steady, preferably by a support. llelow 1/30
standard lens, camera should be on tripod or other
solid base. 'l'he m<lre rapid the action in the scene,
the faster must be the shutter speed.
rhe amount of light b ) In addition to regulating
passing through lens, lens diaphragnr affects depth
of image sharpness. 'l'he larger the f/stop nunrber
(the srnaller the aperture), the deeper will be zone
A perture f-f of sharpness and vice versa.
c) Once proper exposure settings are marde, dif- l;f,li.. (f (:) c) @ ay a9 fig fip
2 | t2 11 l8 il6 t32 t8l ferent picture eff'ects can be achieved by varying the
relationships between the flnumbers and shutter
speeds. 'l'hus, assunte canlera is set :rt l/16 (for
. Setting the diophrogm. The relorionship belween operrure maxinrum range of sharpness from forcground to ' ond light volume is shown on lhe scole obove. background) and l/60 sec. II'there is action in the
scene which you want to stop, you can switch to
le'ses begir u'ith l/stops .ot i' the sta'd.rd sc- f'aster shutter speed (lens open for shorter tinte ),
queuce. ('l'his is cluite co"ro' to .ll of' but then you urust compensate by opening lens 'rakes le'ses.) l')x.'rplcs.re 1.8,3.5, a'd 4.5.'l'hese wider. In this case, if you expose at 11250, lens 'rary be considered as hall-way intenuecliarte stops. would be set to ll8. Looking at dial, note thart
2.4 Selcction of shutter and disaphragm settings 11250 is two shutter settings laster than 1i60. 'l'o
conrpensate lor loss o[ light, you would mitke lens
a) Slgwest_ harnd-held .shutter setting ordinerrily opening larger by 2 settings; that is, from 1116 to
should.te_approximately the sanre as f'carr le'gth f/8. 'l'aking another exanrple, you nray have carn-
ol' lens. 'l'hus, with standard 58 or 55mm lens. era set at f 12.8 and 1/1000. flnder the same light-
32 33
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ing conditions, you decide that greater depth of
field (zone of sharpness) is more important than
freezing action. You stop lens down 3 stops to
smaller aperture of f/8. To compensate for lesser
amount of light, a shutter speed 3 steps slower than
1/1000 is selected, which is LlL25.
3. EXPOSURE METER: SR-z
3.1 General
a ) Meter is designed for reflected light readings.
(lamera is held so that meter window points toward
principal subiect area to be photographed. Addi-
tional suggestions.in Chapter VII. =l
b ) Once the AS,\ film speed has been set on the
shutter speed dial, the meter can be used to find Meler needle points fo correcl If stop, in this cose 5.6,which is
either a diaphragm setting or a shutter speed setting set on operture ring.
oradesiredcombinationo[thetwo.asdescribedE
below. -l
3.3 Selecting a shutter speed3.2 To find diaphragm setting
If you set shutter speed first (r
Yrrr) rind correcl aperture i::J'ffi:il"',Tli:,.'.',Tf-:idTil'$,tJt El "ri":lsetting on the lens mount. 'l'hen turn the shutter dialfor that speed. Iook in window",'ii"iifi;tHfi;? ;;; ;; iir,'d cither way, while measuring the light, until thediaphragni setting to which meter needle points. nreter needle coincides with the pre-selected aperture.thi indicated f/ siop should the;b" "";;,fr;i;;;
iJ'ilTT:''!'.:ffi il:::ii:-.r'J,i::iftf*El3.4row,ighr,eve,s
should be turned so that the indicator dot on the \\'hen the meter needle does not register because
lens mount falls correspondingly between the two o[ inadequate light, press the low-sensitivity shift
respective aperture settings. button on the back of the meter. 'l'his gives a cor-
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cetuse batterl' to rust EIwww.butkus.usu1r toward you. liir_rgerprints
rect exposure reir(ling r.luder ir(l\-erse liuhting co'- or corrode. \\'ipe with soft cloth belbre installing' clitio'.s. Il' the rueter still lirlls bevoricl the 'ccdle d) Keep old bartteries erwity frottr children. l)o largest lens apertrlre, turn the shutter rlial to a sl<-rw- not throu' used nlercury battery itrto it lire. l)o not er .shutter speecl rvithin the hancl-he ld range. Il'usi'g
disassenrble. a tripocl. \'oLl c:rn turn the shutter rlial to the slou'est E'
slleed uulcss vou are photouraphine action. 4. EXPOSURE NIETE,R: SR-l
ET Press low sensilivily shift
bullon on bock of comero
to increose sensilivily of
meler. EI
Minolto 5R - Afreter - 2 Nomenclolure
ll.5 B:rttcry replacement I=T l. Shutter Speed Diol 5. Sensitivity Chonge Diol
er ) .\\'erergc lil'e ol the nrercurl' lt:rtterv i.s 2 \,ears. 2. Film Speed Diol ond ON-OFF Swilch
llattery does not gron' tr'"ake"; its ,".r,ic"al,ilitv 3. Meler Window 6. Photo Cell
conlcs to au itllrr.rpt cncl n'hcn it nrust be rclllerced. 4. Diophrogm Diol
ii' the c.rlrer. is jeli u'usecl I.r it l.r,rg p"riocl of ti're. \'ou r..'tove b:rttert' to gi'e it loneer lile. E=f 4.1 Attaching meter to camcra 'liry
b) \lercury' batterv is conventionitl t,r,1le avail- liefbre attaching ttteter to cilllleril. set shtttter
speecls' able thc<luqhout rvorld. Suitable repl.ce''erts in- dials of both rtteter itnd canrera to sitttte
clude \ittional \l-l) tvpe . IIallorl' linr -6251i, On bottonr of' meter is it fittine pin. Insert it into
I'.r'ereaJy l;.625. (;-1.. 625. nreter shoe on cilnlera. l'ress nleter clon'tr into sltoe E- 'l'o arnd it will couple clirectll' to cittttera's shutter. Il'it c) replace batterr', turn llattery cover on bot- does not, rotate rtreter dial slightly until it etruitges torrr ol' canleru rvith thunrb counter-clocku'i.sc. \\'he. with canrera shutter dial. installing ntn' batterl'. be sure plus (+ ) side {irccs
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I
Ei' AG-1 bulbs, attach the conneaed tip firmly to the 6.2 Shutter.release
tglninal marked "FP." All other conneclions should imponant!Jar- procedure here ts vttally Co.r.o I b. to--tlg rc-t*g:lqarked "X". speeds slower at ,rog the cam..., I esiecially, will
*.'lif"lTXTlT.'1fi:: 'i'il1:iil:r"i','lr: ii:'..*"."',flt"in: 3:,-Y;,'r'll ,t'liY;,i1,'li d speeds slower the camera will move. Egnd-held bdghtness of the flash source, the size ofthe room, , ' should be aviided; l/30 is risky' Atand the distance ofthe sublect from the light. nor I lt l/60 "ff speeds, lean against wall, tree, or other solid average-sized rooms and average-color iub;ects, I il"r.t rest elbows on solid surface. I'referably,you can use the scale on the baik of the Minolta fif support, or
Ilash gun or the exposure guide system.
c) The instructions accompanying flash guns
or electronic flash will include guide numbers for
most popular films. Divide the guide number by
the distance of the subject from the lamp to obtain 6.3 Depth of field
zone of sharpness extends a cer-the correct I/ stop. For example, guide number 90 a ) Actually, the
divided by distance 8 ft. gives a little more than 11, tain distance in front of and behind the subject on
which should be the lens aperture setting. which you have focused. This zone is also called the
d) See Chapter VI for additional suggestions. depth of field. Depth of*held grows shallower ai
lens ii- focused on closer objects and as lens is a opened wider. It becomes greater as lens is focused
6. PICTURE-TAKING on more distant subjects and as lens is stopped
down. For a visual check of depth of field at pre-
6.1 Holding the camera selected lens aperture and distance, press down
lens mount. Ir=r upon preview button on Stand with legs slightly apart, one foot forward,
scalefor greater stability. Put burden of support in left b) You can also refer to the depth of field
feet and metershand, using right hand for shutter release. llold on the lens barrel. This indicates in
arms as close as possible to body. In ltoriruntal the range within which ob;ects will be in focus. For
15position, cradle the camera in both hands, holding example, assume that the camera is focused at c=rit against the cheekbone. In the aertical position, ft. and that the lens aperture is fl LI. The depth of
hold the camera so that the shutter release is at the field scale would show sharp focus from about 11
bottom. Use forehead for support. ft. to a little more than 30 ft.
42 43View original page 23Page 25 · Read text
r
out of focus. At point of sharp focus, grid disap-
pears and sublect becomes sharply defined.
Rangefinder focusirtg.. When out of focus, -d)
subjects are seen as split imageincenterand blurred
image in surrounding area. When sharply focused,
split image in center becomes unified and con-
tinuous, while irnage in surrounding area also ap_
peary sharp. For quick focusing, by estimate, turn
the focusing ring on the le's until the approximate
distance appears opposite the indic.toi iir,e at the
very top of the lens. After you have focused with Push lever down to set lime Push button fo storl limer.
the use of the viewing screen, you will find the deloy.
actual distance opposite the indicator mark.
6.5 Self+imer 7. CHANGING LENSES
a ) Self+imer allows you to get into picture. It 7.1 Basic procedure
can also be used to minimize camera ih.k. fo,
slow shutter speeds.
.'"':,I;:1;:,,"'fi .J,:
lerls barrel b) Io set tinrer, push lever down. \\'hen all the =r.,,3*)j'il1:'.,il':lT;;'.,,ifipush down lens-lock button atld turn way down, tinre lapse is l0 sec. Intermediatesettings counter-clockwise until it stops. Lift out carefully. can be made.
r,?. etelt rin,er,.push bunon on caurera body ii"ilTiii'l;'ili'J i::1.1Tiil'H"ilT:t
'l'urn lens clockwise until it stops, loward") lens barrel. Shutter will release automatical- camera,',,',i,1 ly after 10 sec. or interm€diat€ settinq. If vou set =t -yoi"oill'fa strulter dial on "l|" and use 7J Using mirror lock ".lf-ti-.., about a 2 sec. exposure automaticallv.
d) rrrmcrhas -l)iess been set but,"1.i," 0.,,".0, u H ,",,ilt;i:,1"1":l}::tfi[l':il'[::]"J}I H,':i
is necessary to carr--6e bypasiid. shutter release butaon and lens would touch camera mirror, it timer will not operate. lock mirror out of the way. lly turning red dot on
mirror lock upwards, mirror will lock in a per-
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CHAPTER III
FILMS AND FILTERS
r. BIACK-AND-WHITE FIIM
1.1 Film characteristics
,*d' a) Film speed: Faster films more sensitive to
Push down lens lock button line up red dots lo inserl light; require less exposure under identical con- ond lurn lens borrel counter lens ond lurn lens clockwise ditions than slower films. Slower films usually have clockwise until it sfops. until it slops. finest grain and sharpest image contours. Faster
films usually are grainier, lose contrast.
manently suspended position. \'iewing is then done b) Graininess: Smoothness or coarseness of with use of an accessory linder. llirror lock nr:ry tonal areas of film when enlarged or projected. Fine- also be used for contilluous photography where glain film smoother texture than coarse-grain film. viewing is not necessar)'. 'l'o returll mirror to nor- Fineness of grain helps preserve image details. nral operating position, turn red dot downward.
c) Contour sharpness (acutance): (refers to sharp-
ness of tonal separation between dark and light
ob;ects. Sharpest is knife-edge separation. In poor-
est, tonal areas soften into each other. Good con-
tour sharpness heightens effea of image sharpness
apart from finerress of grain.
Turn red dof on mirror lock d) Film contrast: Contrast refers to range of upwords to lock mirror per-
difference between least dense and most dense ( or monently in on up position.
dark) areas. Contrasty film jumps from light to
dark in very few steps. Film of low contrast has
shorter tonal scale with softer gradation. Films are
popularly characterized by their speed, grain struc-
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tralture when darkened iky desired; doesn't ltghten scientific purposes. Inftared filter required. NOTE:a hp"' Lightens green foliage' Other uses simllar to After finding'distance through tuttg&i"a.t o. ptty- | lellow filter' Factor: 3'5' sical measurement, use "R" on lens"mount as point- i
er to desired distanc€.
*ilfiilfi ,,: i#I:ffi ::, tlJ::iJ1i"infi .il]"""u a
penetratlon, FILTERS g) Infrared (with IR film): Haze , 2. BLACK-AND-WIIITE
b.rpurposesorB-wftrters ]_ ffi::rT;ST:r,?:fi,HT,Jr1":i:;:tlk$""1i# tiuytl-"' a) Ceneral: lolored. -lilters .hold back .o^pl.- !#l
ex- colorsl'i'hirs, [ieen'filter holds back ied h) Illra-atotbt: Rdduce haziness caused by-mentaryTight, making red oblects darker and green objects cessive scattering of ultra-violet light. l.andscapes,
lighter in final print. Red filter holds back green seascapes, high altitrrdes. Factor: 1.
i) Neuhat dercuv..'Reduces the,amount orrisht darker. Ultra-violet and neutral density filters have il,*: fffl,:1jtffi":f;'Jll.li::::,,"-ffil:b;:T: E, transmitted without in any way altering color bal- special purposes, as explained below. ances. Particularly important for color films.
b) Yellow.' Darken blue sky, bring out clouds, j) Polnrizing.' Reduces or eliminates reflections other light oblects against blue sky. Snow: reduce porished surraces' Arso;X"';ili"?':1"'":;il1#:'^:.:'Ji;il::T L"":,:::l;.*jn*J,:l;:used in color photography. distant scenes. Factor: 2. A
c) Orange.' Similar to yellow, but more pro- 2.2 Filter factors
nounced effects. Darkens green foliage; lightens Filters reduce the amount of light transmitted, autumn foliage. Subdues freckles. Simulates night making it necessary to increase the amount of ex- effects, daytime, with slight underexposure and posure. This increase is expressed as a factor. Thus, overprinting. Factor:'3. a filter with a factor of 2 means that double the
d,) Red: Extreme contrasts; similar but more I normal exposure is required. For example, if the
pronounced in effect to orange, filter. "Washes out" normal exposure without filter would have been
lips and skin tones in pictures of people. Variable I160, with the filter use 1/30. Alternatively, if the IEI factor; bracketed exposures recommended. Fac- aperture without the filter would have been f/8, use
tor: 6. f 15.6. Filter factors given here are for most lighting
and most film. Variations in color of lighting and . e) Green-Orange: Preferred for outdoor por-
5352 t'il
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r $
CHAPTE,R IV HI Mocro Rokkor isfocused oto6 ltH with Minolto SR comero for cLosE-uP PHoTocRAPHY generol piclure toking ot lf
1l ' mognificotions ol 0 to l12.
1. MACRO RoKKoR IENS SYSTEM 1;!J
1.1 Attaching the lens
il
a ) The lens has a Irica-type screw mount. There- |
the desired f/ stop and pre-set it by turning the pre- fii;n- J" l'il::i'1.:,i;n.:-,ffiT#:[Til: a set ring so that the f/ stop appears opposite the
using the special handle furnished for this pur- I indicator mark. The lens diaphragm will remain
pose. The lens can then be easily screwed into place I wide open for convenience in focusing. Just before and be removed just as simply. I _ exposure, turn the diaphragm ring until it stops
Eg at the pre-set mark. b ) The lens alone will focus to within 9 in. of the
subiect, photographing it l12 life-size (1:2). With d) For extreme magnification, the lens is reversed
the addition of an intermediate ring, included with and mounted on the l\Iinolta extension bellows,
the lens kit, focusing ring is extended to 8 in. from using a reverse ring furnished with the lens kit.
the sublect, permitting life-size photographs ( 1:1 ). I=J The reason for reversing the lens is to reduce op- The intermediate ring has Leica threads and is tical aberrations at extremely close distances as
easily inserted between the SR adapter ring and the well as to allow more space between the lens and
lens. the object for easier illumination. When the lens is
Focus- c) When mounted as above, the lens is focused EI reversed, helicoid focusing is not possible.
in the normal manner using the helicoid focusing ing is, done with the bellows assembly.
ring. The lens has a manually pre-set diaphragm I e) Magnification factors show automatically on
system. That is, you must determine beforehand I lens mount as lens is focused for close-ups.(Except
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o. 5 first, 2 second, and I last. Then attach cam- 2.3, Exposure factors for Bellows I
era. Nos, 5 qld 1 attach to camera body in same For 55mm and 100mm lenses, find the magnific- I I manner*" as lenses. | ati; factoi or engraved on the extension rail. 'fhe
ffiL'"ift;ilo"'i;r 58mm lens is sufficiently close t=f,.2 Exposure factors
to 55mm to pernrit its use. For the 135mrn lens,
From accompanying tables, find extension tube measure the distance from the front of the lens to I
combination and di3tance of ob;ect from tip of lens the subject; then find the corresponding distance I I barrel. This will direct you to exposure factor. will then lead to finding the exposure nrultiple. I-
Divide this into denominator of shutter speed. For
example, magnification 1.2 with 55mm lens calls - for exposure multiple or factor of 5. ,\ssume shutter
set for 1/500. Divide by 5 arnd new shutter speed
is 1/100. This is close enough to lll25 for latter
to be used. -rJ
2.4 Exposure factors for Bello*s II
From accompanying tables, find either length of
extension bellows or distance from front of lens J frame to subject. 'l'his will lead to exposuremultiple.
shutter speed as described in preceding perra- '\djust
graph. J
3. MINOLTA EXTENSION TUBES
3.1 Attaching extension tubes
,\ttach extension tubes in order of larger num-
'l'h;;;if using iubes noi. l,'2, and 5. attach _bers.
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b ) Exposure based on distance of lamp to re- 2. SHADOW CONTROL: FIASH
flecting surface ltlus distance of strhiect /i-otrt reflect-
irtg sur/ace. (Dista'ce of ca'rera from subject does 2.1 Fill-in Flash
not nratter.) Llsual rule-of-thumb for rooms of aver-
age size and average gr nriddle tone G to iompute a ) Supplementary light used to fill in deep shad-
distance fro'r lamp to poi't of reflection a'd froru ows, usually caused by side-lighting or backlight-
thele to sublea. Contpute exposure from guide ing. Flash can be mounted on calnera in normal
nunrbers or use computing table. 'fhen open lens manner or used off camera.
lperture two f/stops. I)ark or dull roonts, or very b)\\'ith FP bulbs, first determine daylight ex-
flash-to-subject- large olles, require that you open up still ntore. p{sure for sunlit area. tleq divide
distance into flash guide number of shutter speed
1.4 Groups, Flash being used with given film, adiusted for outdoors,
t_9 ftnd f/stop. I.-or less fill-in, move back; for bright- a) Sntall groups, place sublects or find position
that places them at equal distances from flash. er fill-in, move forward.
set b ) Large groups, sub;ects can be arranged in c) \\'ith other flash bulbs or electronic flash,
slower. Set f/number as required double or triple row because of more even depth shutter at ll50 or
of illumination at greater working distances. for sunlit area. Then proceed as in foregoing para-
c) Dispersed groups, back away from subjects gruph.
for flash illumination to be more even. r\void ob-
jects or individuals too close to camera. 'l.ake pic- 2.2 Otr-Camera Flash
ture holding camera high, pointing to most distant Varied effects, particularly in portraiture, when
sublect. r\lternative is to use extension cord ( see flash held at distance from camera, using extension
Off-Camera Flnsh) with camera at any position cords. F-or one extension, typical position for flash
while flash is held high pointing to most distant portrait is high and to left of photographer, pointing
sublect. down to subject, with camera facing directly toward
subiect. ( Exposure computed for distance of lamp-
to sublect, not camera to subiect). Flash unit can'
also be mounted on tripod. Obtain extension cord
from dealer.
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t.7 I
d) ,\lso for inaccessible obiects, use gray card =
t back of this Companion ) to take reading of nriddle l.
I tones. Ilold in same path of light as subject in rela-
h tion to camera. Hold about 6 inches lway from CHAPTER \II Hcamera.Shadowoncardtobeavoidedbutrlottoo
inrportant at this distance. exposure for , '\djust
GUIDE TO GOOD EXPOSURE I brightness range gf sub.lect. Thus, double exposure
ob,- I f9r dark object, half the indicated exposure if I. GENERAL jects are very much lighter than middle tone. ."
-^-* e) F'or selective readings of single areas or ob-
1.1 Exposure Meter Hints jects, hold meter close, in direct path of camera
subject. _ a ) xleter "totalizes" all tonal values within field - position. lle careful not to throw shadow on
of vierv. Fine for middle tones but righter a'd dark- f) Fl,xposure meter tends to give settings that will
er areas come out excessively so. If either lighter produce middle tones. lleading of dark area will
or darker areas are of greater importance, exposure tend to give settings that will lighten that area. should be for that which is to be emphasized.' Sinrilarly, reading of light area will yield settings
b) Changes in meter-selected shutter speed may that should render the light area darker in final .
u.titlt be made to achieve specific effects desired. 'fhus, i' picture. ,\s general rule, change settings nmde
color photography, one might want to subdue the exposure ntetcr so that lighter objects are exposed
oblects are exposed less. vivid in favor of lighter, pastel tones, by using more while dull or dark
expose selectively for shadows, take meter read- slower shutter speed (longer exposure;. ,\lso, a To
take close-up single object might be picked o,.,i fo, selective ex- ing and cut in half. For highlights,
posure, regardless of other objects in field of view. reading and double indicated exposure.
scenes and landscapes where there is exces- c) For metering inaccessible objects, use sub_ g) In
shows stitutes. For faces and other flesh tones, use ha.d sive sky, tilt camera so that hardly any sky
as substitute, making shutter-speed adjustments up in viewfinder. Take reading and then hold camera
in normal viewing position for picture. or dow' to correspond with differ.n.., i' tonal
value of hand and selected oblect. -l.ake readings h) Light and dark subjects together, when given
o-f obleas with similar attire o. other light-reflecting average (or compromise) exposure, lights will be
characteristics. For middle tones, take iading fro,r, overexposed thin, washed out and watery in color - hand, then double exposure. pictures while darks will look even darker than -
70 71 JJJJJ
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IH' throwing light upward. XIore uniform light reflected as compared to regular use of ultra high speed
difussed pattern. I'lffect of cloudy film. Chart is based on aperture of f12.8. from ceiling in
bright outdoor lighting. Similar to bounce-lash.
AVAIIABTE LIGHT EXpOSURE TABLE l-Objects closer to ceiling receive nore illuuination.
Fatt-,ff, €C.J"i1tt,,
Subject Plux-X Tri-X
Shadow control. See preceding sectiott. Home interiors, bright
artificial light 15 30
Home interiors, daylight 60 125
Television pictures 15 30
Brightly lighted offices,
daylight r25 250 I Offices, bright artificial light 30-60 60-125 |
IIuseums, exhibitions, etc. 60 30 ts! Spotlighted areas 60 t25
Brightly lighted areas
at night 15 30
J4
4.2 Fluorescent Lighting -4,
Single fixture, whether bar light or circline, pro- tduces diffused illumination with softedged shardows.
Xlultiple fixtures, as in stores and industrial estab-
lishments, may produce sherdowless illunrination, Ietsinrilar to cloudy bright d.y. See Zlgi t Fail-o//.'
Quality of light aftproxintutes daylight but is bluer.
Ideal for candid picture-taking and for industrial
equipnrent. Use horizontal format for general scenes; etfor close-ups use verticals or horizontals.
4.3 Indirect Torch Lighting I
One or nlore bulbs in oneornlorelanrp reflectors
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7
Backgrounds (Objects) 2. Tone or color of background should be in
contrast to subiect. For black-and-white photog- 1. Change viewpoint or move sublectto eliminate raphy, contrast should first be with hair, second distracting or competing obiects. l'or example, tree with clothing: dark against tight. For color film, or other vertical oblect or line shouldn't be directly
in back of head. ,\lso, elinrinate distracting colors, seek backgrounds whose colors are complementary to those of sublects, although contrasts should be reflections, bright obiects, especially when using appropriate to sublects. flash.
colored *.background: 2. LIse lower picture-taking position to elim- 3. Mood created by warmth through browns and reds; cJoltr.rr through* inate uiiwinted housetops, trees, .irr. . blues and gray
3. 'l'hrow background out of focus by getting 4. Keep light obiects away from colored back- closer to subject; by setting sharpness zone closer, grounds for they may reflect tints back on oblects. or by using wider lens openings.
5. With flash, relative tones of subSects and back- 4. llring out details of natural backgrounds or ground controlled by distances of sublectfromback- environments when they add to story value of pic- ground. If sublect close to background, both about ture or provide mood. Nlove sharpness zone away same tonally. If subject brought away from back- toward background. LTse smaller apertures. ground and exposed correctly, background darker.
Backgrounds (Tone and Shadows) 6. Shadows on background eliminated ormoved
away from head by using off-camera flash, high 1. Sky lones can be rendered darker with black- and to side. and-white films through use of filters. F'or color
film, polarizing filter will darken sky.
Banquets
Use fast or ultra-fast films; see Aaaibb Light
Exposure. For greatest coverage in depth, focus
nearest to furthest. Use tele- at point I 13 in from
photo lens for individual "close-ups."
Beach, see also Seascapes
Eliminote unwonted or distrociing bockground by chonging 1. Avoid portraits made with direct sunlight;
comero ongle. use supplementary fill-in from reflectors or flash.
82 83 AJJJJJJJView original page 43Page 44 · Read text
7 www.butkus.us 2. For general beach scenes, without people, seek g cdmera. Exposure for occupants should be based oblects in foreground to relieve monotony -;,".; on close readings. debriT, blades of grass, footprints. Umbrellers do
well, especially if brightly colored. 3. Pictures of occupauts should show part of
boat; for example, stertl of ttrotorboat with water 3. Sand texture and sand construction projects
trail. req uire side-lighting.
4. Keep canera in case.' Store away when not 4. I)on't get too close to racing boats' Good subiects for telephoto lepses. Dol't create hazards in use. Sea spray is corrosive; and may invade for boat occupants or for other boats. Ile careful mechanism. (See Altltendtx C, Care of'Cattrt'ra of water spray oll camera. and Ftlnt. )
-B-td' Buildings
Best taken with telephoto lens. Set camera be- 1. I'roblenr is to get sufficient coverage of tall forihand, on tripod, in focus on places birds will rootl iu or wide buildilgs because of insufficietlt viiit; bird baths, feeding stations, nests. Use long which to barck olf. 'Iilting camera upwarrd u'ill give
cable release so you may be away from camera. perspective distortio'. For full width coverage, use
wide-angle leps. Co'rpronise with sta'dard lels Bird's-eye Views is to titke picture from erngle, off center'
High vantage point needed for extended ground 2. Side lighting best to bring out texturarl details, views, such as harbors, old city areas, accident figures, orr*nt.,rtartion, brickwork. lluy bright scenes, Iand plots. Side or 3l4lighting best; shad- bJrt; re'ders good shadows but shows detarils of otvs bring out detail. Frontal lighting satisfactory shadows. Shadowless lighting poor. but avoid sunlight toward camera, unless shaded.
F)xposure meter tilted downward when taking read- 3. t"lood-lit buildirtgs, iutensity of light varies;
ing. use ureter close uP.
Bpatq, Pictures from 4. I"oreground oblects usually provide depth,
b.lauce, ndditiottnl i'terest. Closer they are, bigger 1. Ilorizon level low; to raise, stand and point t[ey appear i' rel.tio' to building. 'l'rees, arcfies camera downward slightly. provide framing for buildings. ( See ^Frrzlr ing' ) 2. Light changes direction with turns of boat;
changes exposure. Watch that light does not enter
Campfire, see Firelight, etc.
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7
Carnivals and Festivals, see also 3. For small children, considerable working lati-
Parades and Pageants tude needed. Flash simplest indoors bounce flashfor
1. Opportunity to take colorful pictures; costumes, greater exposure latitude. Also, use fqster films for
floats, decor, unusual foods on display, religious ixisting light pictures when lighting good. Out-
rituals. Ideal for color or slow black-and-white film doors, hazy or cloudy bright light best.
in good lighting; high speed or ultra-high speed 4. Stoop down to level of small children; don't
films when lighting is uncertain or when night pic- just point camera down.
tures are to be taken. ( See,A/ag ht Photography )
2. Sa camera for zone focusing, when covering Circus, see also Parades and Pageants
moving obiects. Anticipate when they will come 1. "Big Top" shots are indoors; use available
within zone of sharpness. light tecf,niquis, high speed color or black-and-
3. Change standpoint to get variety of back- *-hit. films. Exposure meter readings difficult be-
grounds. Be alert for the right combinations of cos- ciluse of distance from subiects and non-uniform
lighting. Ideal for telephoto lens. tumes and backgrounds. ( See Backgrounds, above).
if possible, for pictures of 4. Use flash to fill in shadows. If used for night 2. Get ring-side seats,
shots, remember that light falls off rapidly. Avoid clowns, equestrian acts and vaudeville performers. scenes in depth. Also, take audience pictures. Flash o'k' if you're
close. Sideshows, animal cages, good for close-ups,
Cats and Kittens, see Pets especially with flash. Don't photograph wild ani-
Children, see also Babies mals with flash unless given permission'
1. Children should be absorbed in their own
activities. Get your orn children acustomed to Clouds
excessively, piesence of camera. If children freeze or become Black-and-white film registers blues
resistant, give up effort. Don't force. thus reducing contrast between sky and clouds' To
ex- correct, use orange or green filter, increasing 2. With very small children, short span of at- posure by filter factor. Orange givesdeeper correc- is problem. Create distractions which may lention iion. With color films, use polarizing filter' hold attention, including ticking or whirringoblects,
pets, toys, other children. Don't try to hold attention
too long. Limit area of play to pre-set zone of Coins, Medals and Other Raised Surfaces
sharp focus. Simplify background. LIse close-up aids for pictures of coins, medals'
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